Schedule of Assignments
N.B.: Reading is to be completed by the date listed.
1. Sep 1, 2009 (Tuesday) Introduction to method (most of which should be familiar to you by now), special policy and procedure relating to AP English. I would like you to read the course outline thoroughly — it discusses the scope and intention of the course, and some peculiar rules that I have not enforced with any regularity in other English courses, but which need to be observed here. I want to make sure that none of them takes anyone by surprise.
Please also begin to read C. S. Lewis, An Experiment in Criticism. This is a small but chewy book. I don’t require that you agree with him here (or anywhere else in particular) but his position deserves careful consideration, and if you don’t agree, you should be ready with an answering argument of your own. Determine how you are dealing with literature — are you “using” or “receiving”? It’s likely that you do some of each, and that it varies from occasion to occasion — but it’s also probably useful to determine where the boundaries are.
2. Sep 3, 2009 (Thursday) Please have finished C. S. Lewis, An Experiment in Criticism; we’ll discuss approximately the first half of the book. Bring with you your ideas on overall approaches to literature. Most (if not all) of you have been with me for a number of years now. What new ways do you have of thinking about literature? What is the nature of the literary experience? What are the purposes of literature?
1: What is an educated person?
This is a pretty open-ended question, but I’d like to see what you do with it. I offer it partly because it will direct our thinking for the rest of this course, and partly honoris causa, because Mr. George H. Ward assigned it as the first essay for my AP English class back in 1970. Actually, I think he asked it in the pre-PC version, “What is an educated man?”, but he apparently intended no particular gender restriction, and the question remains valid.
Friday, Sep 4.
Poetry
3. Sep 8, 2009 (Tuesday) Please have read Perrine’s Sound and Sense, ch. 1-2. I’ll entertain any questions you have on the reading first, and then we’ll get into a free discussion about poetry, approaches and suppositions about poetry, and so on. You will of course recall that we’ve discussed such things on and off over the last several years; but the big questions don’t really go away. You’ll get to write about it next week.
4. Sep 10, 2009 (Thursday) Please read Perrine’s Sound and Sense, ch. 3-4. Bring any questions you may have, and then we’ll get down to a discussion of these chapters’ materials and examples.
2: What are the limits of literature in translation?
This is a question we have taken up in World Literature and Western Literature to Dante, but not much elsewhere. Some of you may have encountered it several times; others may not have confronted it at all. Still, it remains an important question, and will be important on and off for the rest of this year, since some of the things we’ll be reading are indeed works in translation. It’s worthwhile to consider these matters here.
Friday, Sep 11.
5. Sep 15, 2009 (Tuesday) Please read Perrine’s Sound and Sense, ch. 5-6 Questions, Free discussion: Poetry
6. Sep 17, 2009 (Thursday) Please read Perrine’s Sound and Sense, ch. 7-8. Again bring your questions, and we’ll follow more or less the same approach. Make sure you’re really grasping this material, since the writing assignment requires you to use it. No questions are dumb. Whatever time is left we’ll devote to discussion of particular poems.
3: What is poetry?
This is your chance to take on the large theoretical question. We aired these questions last week — now it’s time to make your own summation and deliver your own thoughts in a coherent package. Having a definition you believe in and can defend will make the task of measuring other poetry against it much more rational and practical, so this will arm you for the AP Exam as well, but it’s also the kind of thing you should be thinking about.
Friday, Sep 18.
7. Sep 22, 2009 (Tuesday) Please read Perrine’s Sound and Sense, ch. 9-10. After dealing with your questions, we’ll turn once again to discussion of particular poems.
8. Sep 24, 2009 (Thursday) Please read Perrine’s Sound and Sense, ch. 11-12. We’ll follow the same general procedure as before: come ready to discuss any issues raised by the text, and to ask any questions that leave you unsatisfied. After dealing with the general material, we’ll turn once again to discussion of particular poems. We may also devote some time to a discussion of writing strategies.
4: Close reading of a particular poem.
Select a poem and write a close analysis of it — its meaning, its structure, and in general its interplay of sound and sense. You last did this, or something like it, in English Literature, I suspect. Now I’d like you to take another shot at it, and give it all you’ve got. Use the tools you’ve gained from Perrine’s discussion, and dig as deeply as you can.Choose a poem worthy of your attention.
Friday, Sep 25.
9. Sep 29, 2009 (Tuesday) Please read T.S. Eliot, “The Waste Land” This was one of the most difficult and problematic poems of the early twentieth century. Eliot has been by turns praised and blamed for this work, but it deserves a sober look. Using the tools you should now have acquired from your reading of Perrine, read it and think about it carefully. Expect it to take some time. We will also assign articles from the Norton edition of “The Waste Land” for your essays, and to discuss in class next week.
10. Oct 1, 2009 (Thursday) Please read Perrine’s Sound and Sense, ch. 13-16. Questions, free discussion, etc. — wrapping up poetry in isolation. Perrine’s last chapters deal with some very particular issues, and a few technical questions. It’s worth weighing his approach against that of C. S. Lewis, which we have already had a chance to view. Which of them seems to you to be correct? How about Eliot (whom Lewis disliked, but whom Lewis’ friend Charles Williams liked a lot)? First of the presentations on ”The Waste Land.”
5: Write and post to the conference center your assigned discussion on the article from the Norton edition of “The Waste Land”.
I would like each of you to read all the posted discussions, and begin the discussion we’ll continue in class next week. Don’t worry about producing a critique of the forms here: try to follow the ideas and see what you make of them.
In writing material to be posted in the class conference center, do be cognizant of the fact that it is also a weekly essay, and should follow the formal standards of appropriate diction, clear usage, and correct mechanics that I’d expect from any other paper you have submitted. Refrain from “<g>” and “/me” insertions, and write good clean academic prose.
Friday, Oct 2.
YOUR DISCUSSION IS DUE IN THE CONFERENCE CENTER BY FRIDAY; POST FOLLOW-UP DISCUSSION BEFORE CLASS ON 10/11/06. WE’LL CONTINUE FROM THERE IN CLASS.
11. Oct 6, 2009 (Tuesday) “The Waste Land”. Begin individual presentations on “Waste Land” topics.
12. Oct 8, 2009 (Thursday) Finish individual presentations on “Waste Land” themes, and then move on to a general introduction to drama. The first drama was of course poetical, so the transition is not completely arbitrary.
6: Evaluation of a poem. Select a poem from the ancillary materials in Perrine/Arp and write an evaluation of it.
There’s no single set of criteria here — but you should have picked up a lot from Lewis, Perrine, and Eliot by now. Bear in mind that here your job is to evaluate it — i.e., determine how good it is in various ways. Use your own methods and ideas, but be rigorous. You’re a poetry reviewer: assess the poem. How well does it use its materials? Is its imagery fresh? Its thematic material? Does it have interesting ideas? Does it use the language well or badly? Does the poem work for you, or not? If so, how? If not, why not?
Friday, Oct 9.
Drama
13. Oct 13, 2009 (Tuesday) Please read Aeschylus, “Prometheus Bound”, and the first chapter of Bentley’s The Life of the Drama. This is one of the most sensible and thorough guides to drama I have ever encountered, by a real theater man with one foot in academe — he knows what he’s talking about, and he’s familiar with the literature of the theater from Aeschylus to Pirandello. He avoids doctrinaire snap judgments in favor of real penetration. There will be a lot of references here you don’t catch, but be willing to pursue them somewhat, and bring questions to class. If you could handle Auerbach, this should be easy.
Most of you have read Greek drama in Western Literature to Dante, and so this is not altogether new ground. The “Prometheus Bound” is one of the earliest pieces we have surviving. What’s there? What’s missing? What do you expect that you don’t find? Bring any questions you have on either the Aeschylus or the Bentley, and we’ll discuss what we can.
14. Oct 15, 2009 (Thursday) Please read Sophocles, “Philoctetes”, and the second chapter of Bentley’s The Life of the Drama. This time I’d like to talk about your presuppositions about ancient drama as opposed to modern drama, etc. What are the formal constraints of ancient drama? What does the presence of chorus, song and dance, and so on, do to the shape of the play? Does it have some consequences for the actual shape of the plotting? Does it limit or extend the options for characterization? Be ready also to discuss what Bentley has to say. This will serve you throughout our unit on drama.
7: Is there a single protagonist or hero in the “Philoctetes”? If so, who is it? If not, what is the plan?
This question will require you to do some definition of terms before you go too far, I suspect. Give those terms some thought. Opinions will almost certainly differ in this matter — they have typically done so for as long as the play has been studied.
Friday, Oct 16.
15. Oct 20, 2009 (Tuesday) Please read Euripides, “Medea”, and chapter 3 of Bentley. Along with the ”Bacchae,” which you probably met in English I, this is one of the most horrific of Euripides’ plays. Does the lurid aspect of the play add to its drama? Detract from it? Does Euripides create a believable set of characters here? How do his characters compare with those of Aeschylus and Sophocles? In what ways does Euripides’ subjectivism affect his work?
16. Oct 22, 2009 (Thursday) Please read Euripides, “Hippolytus”, and chapter 4 of Bentley. Free discussion: Transformation of character in Euripides.
8: Aristotle argues that the function of (Greek) tragedy is to evoke pity and fear in the audience, and to achieve a “catharsis” or purgation of emotion. Defend or attack this position.
You’re welcome to affirm or deny Aristotle’s theory. Either way, however, you should thoughtfully address some of the limitations of the approach. Is this what Greek tragedy really accomplishes? Is this true of what we would call tragedy generally? What makes tragedy tragedy, after all?
You have now read four Greek dramas recently, and most of you will probably remember six others at least somewhat from Western Literature to Dante. That’s more than most college students have run into. You may draw on any of this as evidence, and, for that matter, on any other Greek tragedy you may have read.
Friday, Oct 23.
17. Oct 27, 2009 (Tuesday) Please read Shakespeare, “Henry IV, Part 1”, and chapter 5 of Bentley. We’ll talk a bit about some introductory material on Shakespeare; free discussion on Shakespeare’s plot construction.
Here we take an enormous leap forward to the modern world — the early modern world, to be sure, but about 2000 years after Euripides. It’s worth consciously evaluating the drama to try to ascertain for yourself just how it has changed. Are its purposes the same? Is its function the same?
18. Oct 29, 2009(Thursday) Please read Shakespeare, “Henry IV, Part 2”, Erich Auerbach, Mimesis, ”The Weary Prince” Discussion: Casts of thousands: Shakespeare’s histories as history; their social and political function.
9: How do Shakespeare’s history plays merge the tasks of dramatist and historian?
The three “Henry IV” and “Henry V” plays are part of a great sequence of history plays that stretches from the end of the reign of Richard II (ob. 1399) to the fall of Richard III (ob. 1485). Obviously some of these have propagandistic value in political terms, but that is unlikely to have been Shakespeare’s sole motivation in writing them. What is Shakepeare’s point here? Does it reflect more on the persons of the kings or the identity of the nation? What kind of understanding of history do they convey? Does this add to or detract from their dramatic force?
Friday, Oct 30.
19. Nov 3, 2009 (Tuesday) Please read Shakespeare, “Henry V” and ch. 6 of Bentley. Free discussion: transformation of character in Shakespeare; history, continuity, and agenda in Shakespeare.
20. Nov 5, 2009 (Thursday) Please read Shakespeare, “Measure for Measure”. Free discussion of the play: possible topics — character, plot, and melodrama.
10: Discuss and assess the peculiar mixture of comic and tragic in ”Measure for Measure”.
”Measure for Measure” is one of the darkest and most menacing of all Shakespeare’s comedies. We have already discussed something about what makes a tragedy tragedy in Greek terms: what prevents these comedies from being tragedies? Does skirting close to the boundaries of tragic territory enhance or weaken the comic experience?
Friday, Nov 6.
21. Nov 10, 2009 (Tuesday) Please read Chapter 7 of Bentley. Continuing discussion of “Measure for Measure”; we’ll talk about deception and genuineness in comedy and tragedy. I strongly suggest also that you begin reading “Hamlet” over the weekend. We will assign “Hamlet” presentations from the Norton Critical Edition articles today.
22. Nov 12, 2009 (Thursday) Please read Shakespeare, “Hamlet”. Free discussion: deception and genuineness in ”Hamlet” vs. “Measure for Measure.”
”Hamlet” is rightly considered to be one of the most difficult and challenging of Shakespeare’s plays, and it has more than enough meat on it to keep us going for some time to come. I’m hoping that the critical readings in the Norton edition will give us material to start with, and that from there you will be able to develop your own discussion on the conference center. Participation on the conference center will be deemed a form of class participation.
11: Write and post to the conference center your presentations on “Hamlet”.
I would like each of you to read all the posted discussions, though obviously the timing makes it difficult for us to progress very far in discussion prior to class.
Friday, Nov 13.
YOUR “HAMLET” DISCUSSION IS DUE IN THE CONFERENCE CENTER BY FRIDAY; FEEL FREE TO POST FOLLOW-UP DISCUSSION AFTER THAT DATE, HOWEVER. WE’LL CONTINUE FROM THESE IN CLASS.
23. Nov 17, 2009 (Tuesday) Please read Chapter 8 of Bentley. Continuing discussion of Shakespeare, “Hamlet”. Individual presentations: problems in Hamlet; reports on Norton Critical Ed. articles Hamlet as a character: complexities, ambiguities.
24. Nov 19, 2009 (Thursday) Please read Molière, “The Miser”. Introduction to French drama; questions and free discussion. You may optionally also like to read “The Would-Be Gentleman”, but we won’t be able to assign it this year as a regular item. Free discussion: Molière’s characters vs. Shakespeare’s.
12: Select one of Molière’s characters and compare him or her with a similar character from one of Shakespeare’s comedies.
There are a lot of directions to go with this question. Which is better rounded? Which serves the comic impulse more successfully? What are the respective strengths and weaknesses of each of the characterizations? (I am not, of course, asking about the personal strengths and weaknesses of the characters!)
Friday, Nov 20.
25. Nov 24, 2009 (Tuesday) Please read Tom Stoppard, “Rosencrantz and Guildenstern are Dead”. Free discussion: referential literature and drama: Rosencrantz and Guildenstern in relation to Hamlet.
NONE.
Happy Thanksgiving.
Take a break. You’ve earned it. Enjoy reading the Corneille over the weekend.
26. Dec 1, 2009 (Tuesday) Corneille, “Le Cid”, Chapter 9 of Bentley. Free discussion: Type and formula in classical French tragedy.
27. Dec 3, 2009 (Thursday) Racine, “Phèdre” Free discussion: Referential drama in classical French Tragedy. Racine’s characters vs. Euripides’.
13: How much of the French classical drama of Corneille and Racine relies on the exercise of choice, and how much is the passive exploration of feeling for its own sake? What does this mean for you as a viewer/reader of the drama?
The extremely focused plot and characterization in Corneille’s “Le Cid” leaves almost nothing without motivation; the situation in Racine is not markedly different. Indeed, the problem by its nature leaves very little actual opportunity for characters to exert any kind of practical freedom of choice about what they will do. One can argue that this generally reactive situation produces a sense of inevitability in the plot, and a dramatic economy that is primarily centered around mining situations for their emotional force. Some find that compelling; others find it annoying or tiresome. We are coming close to the end of our dramatic unit, and so it seems worth reflecting on this question: to what extent to the other dramas you have read (here or anywhere else) follow the same strategy? You may want to consider the Shakespeare you have read, as well as the ancient tragedy, such things as Williams’ “The Glass Menagerie”, which we covered last year, and so on. Just to get you thinking — you don’t have to answer these: Is this a kind of ploy that can be carried off in comedy? What is its purpose? How does such a static model of drama intersect with Bentley’s arguments that violence at some level is essential to drama?
Friday, Dec 4.
28. Dec 8, 2009(Tuesday) Please read Ibsen, “The Wild Duck”, and Chapter 10 of Bentley. Assign presentations for Chekhov’s Uncle Vanya.
29. Dec 10, 2009 (Thursday) Chekhov, ”Uncle Vanya”: Chekhov’s vs. Ibsen’s realism. (You may want to consider renting and viewing “Vanya on 42nd St.,” a successful recent film adaptation of the play.)
We have one major housekeeping task to accomplish today, as well: we will assign romanticism themes to report on from The Sorrows of Young Werther. Consider the following list of general attributes of romantic thought. I’d like to get all of these covered, but if we have more takers, we can double up (or come up with some more obscure ones).
Select one of these particularly to keep track of in your reading of The Sorrows of Young Werther.
14: Write and post to the forum your presentation on ”Uncle Vanya”.
I would like each of you to read all the posted presentations; you can also begin the discussion we’ll continue in class next week. As before, don’t worry about producing a critique of forms here: follow the ideas and see what you make of them.
Friday, Dec 11.
POST FOLLOW-UP DISCUSSION BEFORE CLASS ON 12/16/08. WE’LL CONTINUE FROM THERE IN CLASS.
30. Dec 15, 2009(Tuesday) Chekhov, ”Uncle Vanya” Individual presentations: Problems in Chekhov from the Norton Critical Edition; follow discussions as posted in the Conference Center. We’ll need to be reasonably efficient with these in order to get through all of them: so do your homework ahead of time and have the presentations read and analyzed before coming to class.
31. Dec 17, 2009 (Thursday) Please read and come prepared to discuss Michael Frayn, “Copenhagen”. This play is only a few years old. How is it of a piece with the larger dramatic tradition we’ve been examining? What questions does it raise?
Best Wishes to you and to your families and loved ones
for a blessed celebration of the Feast of the Nativity of Our Lord.
The Novel
15: Write and post to the conference center your presentation on romantic themes in The Sorrows of Young Werther. Please note the due date.
Monday, Jan 4, 2010.
32. Jan 5, 2010 (Tuesday) Please have finished Johann Wolfgang von Goethe, The Sorrows of Young Werther, and Ch. 1 of Booth. Introduction to German romanticism in reference to English and American romanticism and transcendentalism.
This is not a very long book, and it’s really fairly easy to read. When it hit Europe, it was considered earth-shaking stuff, and it still packs a wallop. It’s not, on many accounts (including my own) a very pleasant book, and it deals with some rather distasteful material (I’ll let you find out in due course — I don’t want to give anything away), and some fabulously self-absorbed and self-pitying thinking. At the same time, though, it is remarkable in the way in which it, in 1775, prefigures almost every major impulse of the Romantic movement, which did not really get its published manifesto in England until Wordsworth and Coleridge published the second edition of Lyrical Ballads in 1800.
It’s easy to go through a list of romantic “hallmarks” of the sort I’ve listed above — and I’m far from denying that they are useful, either. At the same time, what I’d like you to try to perceive and identify is the underlying thing that makes romanticism what it is — what is the impulse? What is it saying? We’ve studied this in English literature and in American literature, and you certainly should be drawing comparisons as you can here. But is there some irreducible romantic quiddity, so to speak?
We’ll begin with the class presentations today.
33. Jan 7, 2010 (Thursday) Goethe, The Sorrows of Young Werther, continued. Individual presentations: analyzing the topics of the romantic in Werther; synthesis and evaluation.
You should also be starting Emma now. It will have two advantages: it will give you the time you require to read it, and it will also clear some of the strange thoughts out of your head from Werther. Today we will assign the presentations on Emma.
16: Write and post to the conference center your presentation on the assigned article from the Norton Critical Emma
I would like each of you to read all the posted presentations; you can also begin the discussion we'll continue in class next week. As before, don't worry about producing a critique of forms here: follow the ideas and see what you make of them. Please note the due date.
Monday, Jan 11.
34. Jan 12, 2010 (Tuesday) Have read at least the first half of Austen, Emma, and Ch. 2 of Booth. Discussion: background; Austen as an anti-Romantic author. Assign special topics from the Norton Emma edition for discussion and analysis.
Emma is regarded by some as Jane Austen’s best novel. It may be — though there are a couple of other claimants as well, chiefly Pride and Prejudice and Sense and Sensibility. Be that as it may, this one is challenging and intriguing for its placement of characters, and its rigorous point-of-view writing.
35. Jan 14, 2010 (Thursday) Austen, Emma. Plot structure and organization in Emma. Austen's technique of characterization: Emma Woodhouse as a kind of multiple character; character and dialogue technique in Emma. Free discussion if time remains.
17: Select a section of a few paragraphs of Emma, and analyze it closely for style and the use of language specifically in dialogue.
This is a fairly straightforward question, calling for disciplined thought. I'm looking more for depth than for breadth. How does Austen control the characterization and the imaginative space in the novel through her language, and how does she use these to create humor? Pick a reasonably short passage and dig into it.
Friday, Jan 15.
36. Jan 19, 2010 (Tuesday) Please complete Austen, Emma, and Ch. 3 of Booth. Continue individual presentations and discussions. Style and narrative voice in Emma.
37. Jan 21, 2010 (Thursday) Please have read at least the first half of Bronté, Wuthering Heights, and Ch. 4 of Booth. Discussion: The gothic novel as romantic or post-romantic form.
Emily Bronté's Wuthering Heights is a moderately difficult book to read, requiring physical and emotional stamina — there are long stretches that seem unrelievedly gloomy, populated with characters whose chief aim seems to be mutual torment. All in all, it is a curious and hard-to-interpret product — one that can be analyzed as romantic, as gothic (something of a romantic extreme) or as anti-romantic. However you take it, though, it is a strangely disciplined piece of writing, and constructed with a meticulous care that bears close examination. It also raises issues of character development and tonality that will resonate throughout the subsequent history of the novel.
Assign presentations on Wuthering Heights.
18: Write your presentation on the article from Wuthering Heights. Have it in the conference center in time for everyone to read it before class Tuesday.
Monday, Jan 25.
38. Jan 26, 2010 (Tuesday) Please have finished at least three quarters of Bronté, Wuthering Heights. Free discussion: Hero and anti-hero. Comparison of Bronté's characters with Austen's and those of other characters we've met. Begin presentations.
39. Jan 28, 2010 (Thursday) Please have finished Wuthering Heights and Ch. 5 of Booth. Discussion: structure in Wuthering Heights. What does it mean for a novel to have structure? Finish individual presentations. Assign presentations on Fathers and Sons.
40. Feb 2, 2010 (Tuesday) Begin reading Turgenev, Fathers and Sons. Finish any remaining Wuthering Heights presentations; begin discussions of Fathers and Sons. Begin Fathers and Sons presentations.
41. Feb 4, 2010 (Thursday) Turgenev, Fathers and Sons, concluded. Individual presentations, concluded. Assign presentations on House of the Seven Gables.
19: Post to the conference center your discussion of your assigned articles on Fathers and Sons. Note due date.
Friday, Feb. 5.
42. Feb 9, 2010 (Tuesday) Please have read Hawthorne, House of the Seven Gables, and Ch. 6 of Booth. General discussion; perhaps begin individual presentations.
43. Feb 11, 2010 (Thursday) Hawthorne, House of the Seven Gables, contd.; begin or continue individual presentations on Hawthorne. Have completed House of the Seven Gables.
20: Post your assigned discussion of the Hawthorne novel to the conference center.
Friday, Feb 12.
PLEASE READ THESE AND POST RELEVANT FOLLOW-UP DISCUSSION BEFORE CLASS.
44. Feb 16, 2010 (Tuesday) Hawthorne, House of the Seven Gables, concluded, and Ch. 7 of Booth. Review and free discussion of the so-called American Renaissance, Romanticism, Symbolism. If you haven't recently reviewed Hawthorne's Scarlet Letter, too, you should revisit it. It will provide exceptionally good leverage against almost every other form of fiction, and can also (for what it's worth) be used to answer at least half the AP Free-response questions ever written.
45. Feb 18, 2010 (Thursday) Please have read Melville, Billy Budd. General discussion.
A: I am sending you a sample AP exam question by e-mail. You should not take more than forty minutes completing it.
Friday, Feb 19.
46. Feb 23, 2010 (Tuesday) Begin Tolstoy, War and Peace; and Ch. 8 of Booth. We may continue anything that needs to be wrapped up with Billy Budd, depending on how things work out.
47. Feb 25, 2010 (Thursday) Tolstoy, War and Peace.
B: I am sending you a sample AP exam question by e-mail. You should not take more than forty minutes completing it..
Friday, Feb 26.
48. Mar 2, 2010 (Tuesday) Tolstoy, War and Peace, and Ch. 9 of Booth.
49. Mar 4, 2010 (Thursday) Tolstoy, War and Peace.
C: I am sending you a sample AP exam question by e-mail. You should not take more than forty minutes completing it.
Friday, Mar 5.
50. Mar 9, 2010 (Tuesday) Have finished Tolstoy, War and Peace, and Ch. 10 of Booth. Free discussion: theme in War and Peace. Assign presentation topics on Heart of Darkness: these are to be chosen from among the various critical schools mentioned there.
51. Mar 11, 2010 (Thursday) Wrap up anything that remains to be covered in War and Peace, and move on to Conrad, Heart of Darkness.
D: I am sending you a sample AP exam question by e-mail. You should not take more than forty minutes completing it.
Friday, Mar 12.
52. Mar 16, 2010(Tuesday) Have finished Heart of Darkness, and Ch. 11 of Booth. We will begin presentations and discussion.
21: Write your seminar presentation on Heart of Darkness from the Murfin edition.
Wednesday, Mar 17.
53. Mar 18, 2010(Thursday) Heart of Darkness presentations and discussion, concluded. You should have begun your reading of Ethan Frome.
Assign Ethan Frome presentations: note due date.
22: Discussions of the Ethan Frome articles.
Monday, Mar 22.
54. Mar 23, 2010 (Tuesday) Ethan Frome presentations and discussion. Also please read Ch. 12 of Booth.
55. Mar 25, 2010(Thursday) Finish individual presentations on Ethan Frome.
Begin reading F. Scott Fitzgerald, The Great Gatsby.
E: I am sending you a sample AP exam question by e-mail. You should not take more than forty minutes completing it.
Friday, Mar 26.
Best Wishes to you and to your families and loved ones for a blessed celebration of Holy Week and the Feast of the Resurrection of Our Lord.
56. Apr 6, 2010 (Tuesday) Please have read Fitzgerald, The Great Gatsby, and Ch. 13 of Booth. General discussion of The Great Gatsby.
57. Apr 8, 2010 (Thursday) The Great Gatsby, concluded.
F: I am sending you a sample AP exam question by e-mail. You should not take more than forty minutes completing it.
Friday, Apr 9.
58. Apr 13, 2010 (Tuesday) Have read C. S. Lewis, Till We Have Faces, and Booth's Afterword.
This novel is the last Lewis wrote, and it is one of his most thoughtful and challenging. I hope you will find it as thought-provoking as I have.
59. Apr 15, 2010 (Thursday) C. S. Lewis, Till We Have Faces, general discussion and conclusion.
G: I am sending you a sample AP exam question by e-mail. You should not take more than forty minutes completing it.
Friday, Apr 16.
60. Apr 20, 2010(Tuesday) Have read entire, Kazuo Ishiguro, The Remains of the Day.
This remarkable novel is written by a Japanese author, but is virtually pitch-perfect in the way it resonates with English social life of the period between the World Wars. At the same time, it is a structurally fascinating novel, governed by an overall metaphor of the journey. It probably indicates something about where the novel (at its best) is headed in the twenty-first century — an international English voice seems to be prevailing for now.
61. Apr 22, 2010 (Thursday) Finish discussing Kazuo Ishiguro, The Remains of the Day.
H: I am sending you a sample AP exam question by e-mail. You should not take more than forty minutes completing it.
Friday, Apr 23.
62. Apr 27, 2010 (Tuesday) Overall discussion; review of Booth, Perrine, and Bentley; exam-taking strategies.
63. Apr 29, 2010 (Thursday) Overall discussion; review of Booth, Perrine, and Bentley; exam-taking strategies.
I: I am sending you one last sample AP exam question by e-mail. You should not take more than forty minutes completing it..
Friday, Apr 30.
64. May 4, 2010 (Tuesday) Overall discussion; review of Booth, Perrine, and Bentley; exam-taking strategies.
65. May 6, 2010(Thursday)
AP EXAM, MORNING ADMINISTRATION (8:00 A.M., your region). No class.
N.B. — this is not confirmed. check with the College Board website to confirm the date.
66. May 11, 2010 (Tuesday) Exam debriefing.
67. May 13, 2010 (Thursday) Student topics; individual presentations as you like.
68. May 18, 2010 (Tuesday) Retrospective and assessment; party. We'll determine whether there are to be any further meetings after this.
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